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Leonard Maltin

Tarzan Swings Again

  • By Leonard Maltin
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  • October 26, 2010 5:00 AM
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  • 3 Comments

Umgawa! Every generation has its own image of Tarzan, from beefy Elmo Lincoln in 1918 to Disney’s muscular animated incarnation of 1999, but for die-hard movie buffs, former Olympian Johnny Weissmuller remains the definitive Ape Man. What’s more, the films that cemented his image as Edgar Rice Burroughs’ lord of the jungle have retained a special fascination for anyone who grew up with them, when they were new in the 1930s or years later on television.

More: Journal

An Interview with Justin Bartha

  • By Leonard Maltin
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  • October 25, 2010 4:00 AM
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  • 0 Comments
| Holy Rollers | Justin Bartha | Leonard Maltin | Maltin on Movies | Movie Trailer

film review: Hereafter

  • By Leonard Maltin
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  • October 22, 2010 4:00 AM
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  • 4 Comments

For a film that is alternately emotional and cerebral, Hereafter grabs your attention with a scene worthy of a high-end disaster movie: an incredible depiction of a Tsunami. Knowing that it’s coming, as many people will from the previews and advertisements, won’t lessen the impact of this tour de force, which is frighteningly believable in every detail.

Kingman's Andy Devine

  • By Leonard Maltin
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  • October 21, 2010 12:45 PM
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  • 1 Comment
Here is Andy’s hand-tooled leather director’s chair from the set of the TV series Wild Bill Hickok on which he played Wild Bill’s sidekick Jingles.

Postcards From The Road

  • By Leonard Maltin
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  • October 21, 2010 1:00 AM
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  • 2 Comments
It’s hard to take a dull picture in Yosemite—though my shot of the famous granite Half Dome poses no threat to Ansel Adams.
More: Journal

A Gemma Arterton Interview

  • By Leonard Maltin
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  • October 16, 2010 4:00 AM
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  • 0 Comments
| Tamara Drewe | Leonard Maltin | Maltin on Movies | Movie Trailer

film review: Conviction

  • By Leonard Maltin
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  • October 15, 2010 4:00 AM
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  • 4 Comments
I know, I know: this sounds like TV-movie fodder. But Conviction isn’t a formulaic feel-good saga. It is based on a true story that takes many unexpected turns, and I found it quite moving. Hilary Swank plays a working-class Massachusetts woman in the 1980s who vows to go back to school and earn a law degree so she can help her innocent brother beat a murder rap that’s put him in prison for life. Sam Rockwell is the brother, a lifelong hellraiser who can’t believe his sister has that kind of devotion—

Another Studio Vault Opens!

  • By Leonard Maltin
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  • October 13, 2010 4:00 AM
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  • 10 Comments
Following Warner Bros.’ great success with warnerarchive.com, and Universal’s licensing of vintage titles to Movies Unlimited and Turner Classic Movies, Sony has stepped up to the plate to launch its own vintage movie line on DVD, drawing on its vast library of Columbia Pictures. The more the merrier, says I.
More: Journal

A Towering Figure—And A Towering Book

  • By Leonard Maltin
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  • October 11, 2010 4:00 AM
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  • 1 Comment

BOOK REVIEW — EMPIRE OF DREAMS: THE EPIC LIFE OF CECIL B. DeMILLE by Scott Eyman
(Simon & Schuster)

I’ve always been fascinated by Cecil B. DeMille. Not only was he the most famous moviemaker of his time; his name is practically synonymous with the early days of Hollywood. I’ve read a number of books written about him over the years and none of them has fully captured the sweep and scope of the man’s extraordinary life…until now. Finally, DeMille has the book he deserves, thanks to that astute and eloquent biographer Scott Eyman. Not only does Empire of Dreams: The Epic Life of Cecil B. DeMille (Simon & Schuster) capture the many contradictions of DeMille the man: it also assesses his films and restores their often-tarnished reputations.

The author provides a good summation of his subject in this paragraph: “DeMille’s personality embodied unresolvable tensions bred by a devout Episcopalian father and a flamboyant Jewish mother—lust mixed with God, God mixed with Mammon, with a strangely—

film review: Secretariat

  • By Leonard Maltin
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  • October 8, 2010 4:01 AM
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  • 5 Comments
The secret of this film’s success is that it isn’t just the saga of a famous, prize-winning horse; it’s also the story of his owner, a suburban housewife and mom who stepped into a man’s world and took charge of an animal she believed to be a champion. It documents a time in the late 1960s and early 70s, when social change was in the air, and women’s roles in society were changing, if slowly. Mike Rich’s screenplay captures the time quite well, as do all the visual details onscreen. Those qualities—plus an exceptionally good cast—lift this above the norm for sports movies and underdog tales.